Locus Magazine’s just published my latest column, “Nature’s Daredevils: Writing for Young Audiences,” written in honor of their special young adult publishing issue — in it, I examine the lessons I’ve learned in writing my first YA book, Little Brother:

Genre YA fiction has an army of promoters outside of the field: teachers, librarians, and specialist booksellers are keenly aware of the difference the right book can make to the right kid at the right time, and they spend a lot of time trying to figure out how to convince kids to try out a book. Kids are naturals for this, since they really use books as markers of their social identity, so that good books sweep through their social circles like chickenpox epidemics, infecting their language and outlook on life. That’s one of the most wonderful things about writing for younger audiences — it matters. We all read for entertainment, no matter how old we are, but kids also read to find out how the world works. They pay keen attention, they argue back. There’s a consequentiality to writing for young people that makes it immensely satisfying. You see it when you run into them in person and find out that there are kids who read your book, googled every aspect of it, figured out how to replicate the best bits, and have turned your story into a hobby. We wring our hands a lot about the greying of SF, with good reason. Just have a look around at your regional con, the one you’ve been going to since you were a teenager, and count how many teenagers are there now. And yet, young people are reading in larger numbers than they have in recent memory. Part of that is surely down to Harry Potter, but on this tour, I’ve discovered that there’s a legion of unsung heroes of the kids-lit revolution.

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My latest Guardian column is up: “Warning to copyright enforcers: Three strikes and you’re out” argues that if the entertainment industry wants the right to disconnect accused infringers after three accusations, then they should be prepared to have their corporate Internet access terminated if they make three false accusations. Thanks to Kevin Marks for the idea!

The internet is only that wire that delivers freedom of speech, freedom of assembly, and freedom of the press in a single connection. It’s only
vital to the livelihood, social lives, health, civic engagement, education and leisure of hundreds of millions of people (and growing every day).

This trivial bit of kit is so unimportant that it’s only natural that we equip the companies that brought us Police Academy 11, Windows Vista, Milli Vanilli and Celebrity Dancing With the Stars with wire-cutters that allow them to disconnect anyone in the country on their own say-so, without proving a solitary act of wrongdoing.

But if that magic wire is indeed so trivial, they won’t mind if we hold them to the same standard, right?

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